While The Cabinet of Dr. Caligari became an international film classic, its director, Robert Wiene, was disparaged and even forgotten. Wiene's oeuvre, however, exhibits a a surprising versatility and quality, featuring Raskolnikov, an expressionist adaptation of Dostoevsky's novel, INRI, a monumental Bible epic, Orlac's Hands, a psychological thriller, and Der Rosenkavalier, an ambitious opera film. His last film, Ultimatum (1938), is a vehement warning of the approaching war, which remains relevant today. With painstaking research of the major European film archives, the author's detailed portrait reveals a career far more differentiated than hitherto acknowledged. Caligari though rated the second most important film in German film history in a recent critic's and scholar's poll -- was a landmark rather than a culmination in a career that successfully oscillated between artistic and commercial interests.

As the field of film studies rediscovers film history and the value of historical context for the analysis of individual films, monographs on filmmakers are increasingly valuable to scholars and students of both film history and cultural studies. Through the provocative and prolific career of Robert Wiene, a wider, more dynamic view of fantasy production in the Weimar Republic is revealed, enabling the reader to better appreciate the complex shapes of Weimar cinema, its inimitable blend of modernism and mass culture, of avant-garde enterprise, and generic production.

While The Cabinet of Dr. Caligari became an international film classic, its director, Robert Wiene, was disparaged and even forgotten. Wiene's oeuvre, however, exhibits a a surprising versatility and quality, featuring Raskolnikov, an expressionist adaptation of Dostoevsky's novel, INRI, a monumental Bible epic, Orlac's Hands, a psychological thriller, and Der Rosenkavalier, an ambitious opera film. His last film, Ultimatum (1938), is a vehement warning of the approaching war, which remains relevant today. With painstaking research of the major European film archives, the author's detailed portrait reveals a career far more differentiated than hitherto acknowledged. Caligari though rated the second most important film in German film history in a recent critic's and scholar's poll -- was a landmark rather than a culmination in a career that successfully oscillated between artistic and commercial interests.

As the field of film studies rediscovers film history and the value of historical context for the analysis of individual films, monographs on filmmakers are increasingly valuable to scholars and students of both film history and cultural studies. Through the provocative and prolific career of Robert Wiene, a wider, more dynamic view of fantasy production in the Weimar Republic is revealed, enabling the reader to better appreciate the complex shapes of Weimar cinema, its inimitable blend of modernism and mass culture, of avant-garde enterprise, and generic production.

The Films of Jess Franco looks at the work of Jesus ""Jess"" Franco (1930-2013), one of the most prolific and madly inventive filmmakers in the history of cinema. He is best known as the director of jazzy, erotically charged horror movies featuring mad scientists, lesbian vampires, and women in prison, but he also dabbled in a multitude of genres from comedy to science fiction to pornography. Although he built his career in the ghetto of low-budget exploitation cinema, he managed to create a body of work that is deeply personal, frequently political, and surprisingly poetic. Editors Antonio Lazaro-Reboll and Ian Olney have assembled a team of scholars to examine Franco's offbeat films, which command an international cult following and have developed a more mainstream audience in recent years. Arguing that his multifaceted, paradoxical cinema cannot be pinned down by any one single approach, this edited volume features twelve original essays on Franco's movies written from a variety of different perspectives. This collection does not avoid the methodologies most commonly used in the past to analyze Franco's work-auteur criticism, genre criticism, and cult film criticism-yet it does show how Franco's films complicate these critical approaches. The contributors open up fresh avenues for academic inquiry by considering his oeuvre from a range of viewpoints, including transnational film studies, cinephilia studies, and star studies. The Films of Jess Franco seeks to address the scholarly neglect of this legendary cult director and to broaden the conversation around the director's work in ways that will be of interest to fans and academics alike.

Examines the politics of female authorship in relation to contemporary documentary practicesThis book, like its twin volume 'Female Authorship and the Documentary Image', centres on pressing issues in relation to female authorship in contemporary documentary practices. Addressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars now expand the theoretical and practical framework informing the current scholarship on documentary cinema, which has so far neglected questions of gender.'Female Agency and Documentary Strategies' centres on how self-portraiture and contemporary documentary manifestations such as blogging and the prevalent usage of social media shape and inform female subjectivities and claims to truth. The book examines the scope of authorship and agency open to women using these technologies as a form of activism, centring on notions of relationality, selfhood and subjectivity, and includes interviews with Hong Kong based activist filmmaker and scholar Vivian Wenli Lin and Spanish documentarist Mercedes Alvarez.ContributorsAnna Backman Rogers, University of GothenburgLinda C. Ehrlich, Writer, Teacher, EditorKerreen Ely-Harper, Creative Media Researcher and Filmmaker Kristopher Fallon, University of California, DavisCadence Kinsey, University of YorkCarla Maia, Centro Universitario UNALidia Meras, Film Historian and ResearcherAnna Misiak, Falmouth UniversityKim Munro, Filmmaker, Artist and Teacher Kate Nash, University of LeedsJohn A. Riley, Woosong UniversityMonica Titton, University of Applied Arts and at the Academy of Fine Arts in ViennaBoel Ulfsdotter, Independent Scholar Gail Vanstone, York University, Toronto

Carrie Tarr's analysis of the cinema of Diane Kurys is the first full-length study of this director, whose delightfully unsentimental reconstructions of the lives of girls and women in post-war France have established her as a distinctive presence in contemporary French film-making. Tarr traces Kurys' trajectory from actress to author, director and producer of her own films and situates her work within debates on women's film-making and female authorship. The book includes detailed readings of each of Kurys' films to date, from the evocation of growing up in the 1960s in "Diabolo Menthe" to the dilemmas facing contemporary women artists in "A la Folie." The conclusion defines Kurys' "authorial signature" and discusses the extent to which she has been able to create a space for female subjectivity within the constraints of contemporary French culture.

The impact of French film critic Andre Bazin (1918-1958) on the development of film studies, though generally acknowledged, remains contested. A passionate initiator of film culture during his lifetime, his ideas have been challenged, defended and revived throughout his afterlife. Studying Film with Andre Bazin offers an entirely original interpretation of major concepts from Bazin's legacy, such as auteur theory, realism, film language and the influence of film on other arts (poetry and painting in particular). By examining mostly unknown and uncollected texts, Blandine Joret explains Bazin's methodology and adopts it in a contemporary reading, linking his ideas to major philosophical and scientific frameworks as well as more recent media practices such as advertising, CGI, 3D cinema and Virtual Reality. In tune with 21st-century concerns in media culture and film studies, this book addresses a wide readership of film scholars, students and cinephiles.

Norfolk Summer presents the story about the making of a film starring Julie Christie and Alan Bates Joseph Losey's award-winning movie The Go-Between was filmed entirely on location in Norfolk in 1970. The film charts the tragic story of a young boy's loss of innocence during a hot summer and stars Julie Christie and Alan Bates as a pair of lovers crossing class boundaries in late Victorian England. The production brought together the playwright Harold Pinter, who adapted L.P. Hartley's elegant novel for the screen, the acclaimed director Joseph Losey and a cast of international stars for ten weeks' filming in and around Melton Constable Hall in north Norfolk - a time of happy creativity, some tension and a good deal of comedy. But the idyllic summer only came about after years of bitter battling over the rights of the book, and it was to be followed by yet more intrigue and high drama, which culminated in the film's triumph at the 1971 Cannes Film Festival, where it won the prestigious Palme d'Or.

As one of the foremost Spanish directors of all time, Luis Bunuel's filmography has been the subject of innumerable studies. Despite the fact that the twenty films he made in Mexico between 1946 and 1965 represent the most prolific stage of his career as a filmmaker, these have remained relatively neglected in writing on Bunuel and his work. This book focuses on nine of the director's films made in Mexico in order to show that a concerted focus on space, an important aspect of the films' narratives that is often intimated by scholars, yet rarely developed, can unlock new philosophical meaning in this rich body of work. Although in recent years Bunuel's Mexican films have begun to enjoy a greater presence in criticism on the director, they are often segregated according to their perceived critical value, effectively creating two substrands of work: the independent and the studio potboiler. The interdisciplinary approach of this book unites the two, focusing on films such as Los olvidados, Nazarin, and El angel exterminador alongside La mort en ce jardin, The Young One, and Simon del desierto, among others. In doing so, it avoids the tropes most often associated with Bunuel's cinema-surrealism, Catholicism, the derision of the bourgeoisie-and the approach most often invoked in analysis of these themes: psychoanalysis. Instead, this book takes inspiration from the fields of human geography, anthropology, and philosophy, applying these to film-focused readings of Bunuel's Mexican cinema to argue that, ultimately, these films depict an overriding sense of placelessness, overtly or subliminally enacting a search for belonging that forces the viewer to question what it means to be in place.

When Armando Bo and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship, Violated Frames develops a new, roughly constructed, and "bad" archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruetalo situates Bo and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Peron, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bo and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities.

The first full-length account of the life and work of Joseph H. Lewis, the noted director of films such as My Name is Julia Ross (1945) and The Halliday Brand (1957). Because most commentators and interviewers have focused on Lewis' contributions to film noir and particularly Gun Crazy and The Big Combo, Nevins tries to give equal time to Lewis' early B westerns and television series episodes, including episodes of The Rifleman and Gunsmoke that he directed at the end of his career. Nevins's narrative is interspersed with Lewis's own reflections on his life and career, adding a personal element that enlivens the text. A detailed filmography includes Lewis's editorial work, feature films, and episodes of TV series.

In Adventures of a Suburban Boy, John Boorman, hailed by the Observer as 'arguably Britain's greatest living director', offers an enthralling memoir of a creative life spent turning dreams into celluloid, and money into light. One of cinema's authentic visionaries, Boorman nevertheless enjoyed an archetypal English suburban boyhood in the 1940s and 50s, attending Catholic school and finding his first employment in a dry-cleaner's. But his abiding passion was for film, and he got his first break during the 'gold rush' era of British television in the 1960s. After directing several innovative documentaries for the BBC, he graduated to motion pictures, first filming pop stars The Dave Clark Five for Catch Us If You Can, before venturing to Los Angeles to make his first Hollywood picture - and his first masterpiece - Point Blank. The film inaugurated Boorman's profound friendship with star Lee Marvin, which also led to a second professional collaboration on Hell in the Pacific. What follows are accounts of Boorman's joys and agonies in the making of such extraordinary pictures as the terrifying backwoods adventure Deliverance, the fantastical epics Zardoz and Exorcist II: The Heretic, the glorious Arthurian legend Excalibur, his magnificent drama of imperilled Amazonian tribes, The Emerald Forest, and his semi-autobiographical, multi-Oscar-nominated Hope and Glory. Among the many friends and collaborators of whom Boorman offers vivid portraits are Lee Marvin, Sean Connery, Richard Burton, Marcello Mastroianni, Burt Reynolds, Jon Voight, Helen Mirren and Nicol Williamson.

From Destination Tokyo (1943) to The Battle of the Villa Fiorita (1965), Delmer Daves was responsible for a unique body of work, but few filmmakers have been as critically overlooked in existing scholarly literature. Often regarded as an embodiment of the self-effacing craftsmanship of classical and post-War Hollywood, films such as Broken Arrow (1950) and 3:10 to Yuma (1957) reveal a filmmaker concerned with style as much as sociocultural significance. As the first comprehensive study of Daves's career, this collection of essays seeks to deepen our understanding of his work, and also to problematize existing conceptions of him as a competent, conventional and even naive studio man.

Refocus: The Films of Amy Heckerling is the first book-length study of the work of Amy Heckerling, the phenomenally popular director and screenwriter of Clueless and Fast Times at Ridgemont High. As such, the book constitutes a significant intervention in Film Studies, prompting a reconsideration of the importance of Heckerling both in the development of Teen cinema, and as a figure in Hollywood comedy. As part of the Refocus series, the volume brings together outstanding original essays examining Heckerling's work from a variety of perspectives, including film, television and cultural studies and is destined to be used widely in undergraduate teaching.

Michael Powell was introduced to film relatively late in life, and feeling dissatisfied with what British films had to offer, he took his primary influences from American and German films. Emeric Pressburger was a Hungarian emigre who was educated in the German film industry before fleeing from the threat of the Nazi party. These two men of diverse backgrounds would successfully collaborate on 16 films over a period of fifteen years, most often with their identities united as the Archers. The Archers' collaboration began during World War II, where they attempted to identify the causes for which thousands were dying. Following the war, their focus was on art and why it was worth dying for. The results were such classics as Black Narcissus, The Life and Death of Colonel Blimp, The Red Shoes, and The Tales of Hoffman. The Archers' popularity waned in the mid fifties when the two men seemed to lack focus. Never popular with British critics, they ended their career with a pair of mediocre films that seemed to be shadows of their previous successes.

Malcolm St. Clair was a master director of sophisticated silent comedy. This book traces his career, from his start as a Mack Sennett Keystone Kop, through the action-adventures of the early 1920s, his work with Buster Keaton, the grand and elegant sophisticated comedies for Paramount in the '20s (Are Parents People?, The Grand Duchess and the Waiter, Gentlemen Prefer Blondes, and The Canary Murder Case), his transition to sound films, and the comedies for 20th Century-Fox. Includes a 16 page photo insert.

To the American public, she will always be remembered as the woman who had a grapefruit ground into her face by James Cagney in the 1931 film classic Public Enemy. In fact, in an acting career that spanned nearly four decades, Mae Clarke appeared in nearly 100 feature films and logged in nearly as many television appearances. During the two years before she died at the age of 82, Mae Clarke spent many hours reliving those years. In a series of candid and often poignant interviews, she talks about her years in Hollywood, her failed marriage, and her health problems.

This reference work presents the full range of the filmmaker's artistry (photography, painting and music) through the optic of his films. It is an original work combining all facets of his creation for the first time, bringing a fresh vision of his cinematographic work. At the heart of the book is the exhibition curator Matthieu Orlean's unpublished interview with Gus Van Sant in Portland in June 2015, discussing the whole scope of his work and inspirations through a network of images organized into themes. The work also explores the work of other artists whose heritage Gus Van Sant believes he is continuing: heritage beat, pop, rock, and experimental filmmakers, writers and visual artists like William Burroughs, William Eggleston, Harmony Korine and Ed Ruscha. There is also critical analysis of the many themes Gus Van Sant tackles in his work related to his own personal reflections on life, accompanied by first-hand anecdotes and an in-depth appraisal of the production processes used in each movie, from the experimental shorts of the 70s to Sea of Trees, presented at the Cannes Festival in May 2015, soon to be released in cinemas. The monograph also feature essays by Stephane Bouquet, Benjamin Thorel, Bertrand Schefer and Stefano Boni, who provide their own interpretations of his protean work. Each essay tackles specific aspects of Gus Van Sant's creation through reflections on the heterogenous nature of his methods and approach.

An essential text on filmmaking that every student, scholar, and teacher of films should own. In it, some of the motion picture industry's most important directors including Steven Spielberg, Martin Scorsese, Howard Hawks, Louis Malle, Federico Fellini, Blake Edwards, Francois Truffaut, and Rene Clair answer questions on the decisions that all directors must make before filming a movie, questions that help the reader understand the concept of filmmaking. They cover all aspects of filmmaking including script choices, planning, casting, actor choices, editing, rehearsing, and music scoring. Garnett also elicited vital information on the directors' source of inspiration, how they started their career, their philosophy of filmmaking, and their objectives for making their films."

Andrzej Wajda is considered one of Poland's - many would say the world's - greatest film directors. During the thirty-five years of his activity in film, theatre or television, his work, whether strong or weak, always arouses strong emotions and provokes intense debates in the media. His films deal with historical and political issues concerning Polish character and the nature of political power. Controversial, painful, stimulating and cinematically beautiful, they never fail to fully engage the spectator. This is particularly true for his major political films, which form the basis of the study. Applying Bakhtin's concept of dialogism, the author shows how a creative interaction between the image on the screen and the viewer is established through Wajda's films. At the same time, she offers a detailed analysis of the historical events leading up to the collapse of the Socialist system in Poland. Janina Falkowska graduated in English from the University of Poznan, Poland, and received her PhD from McGill University. She now teaches film at the University of Western Ontario.

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. This book offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to post-war Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a ground-breaking new study of a master of cinema.

In this pioneering investigation into the seldom-studied film culture of colonial Korea (1910-1945), Dong Hoon Kim brings new perspectives to the associations between colonialism, modernity, film historiography, and national cinema. In its attempt to reconstruct lost intricacies of colonial film history, Eclipsed Cinema explores the under-investigated aspects of colonial film culture such as the representational politics of colonial cinema, the film unit of the colonial government, the social reception of Hollywood cinema in relation to emerging Korean nationalism, Japanese settlers'film culture, and gendered film spectatorship. By filling a significant void in Asian film history, Eclipsed Cinema greatly expands the critical and historical scopes of early cinema, Korean and Japanese film histories, modern Asian culture, and colonial and postcolonial studies.

Offering a variety of case studies in which films have been remade across national borders, Transnational Film Remakes provides an analysis of cinematic remaking that moves beyond Hollywood to address the truly global nature of this phenomenon. From Hong Kong remakes of Japanese cinema to Bollywood remakes of Australian television, this book interrogates the fluid and dynamic ways in which texts are adapted and reworked across national borders to provide a distinctive new model for understanding these global cultural borrowings.

A clear and insightful analysis of the life and work of American director and coreographer, Stanley Donen.

The cinephile community knows Abbas Kiarostami (1940-2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews, editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members.

Neil Hurley demonstrates Hitchcock's covert preoccupation with spiritual themes conscience, guilt, false accusation, crises as catalysts of character development, personal romance, the salvation of nations, and the "unjustly accused." This last theme is linked in profound ways to Hitchcock's secular Christ types, who find purpose and undiscovered courage and companionship in having to disprove falsely imputed guilt in I Confess, The Wrong Man, Veritgo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy. (The last three also feature feminine Christ parallels who undergo Passion/Resurrection experiences marked with visual religious clues.)